07 · 12 · 24

Impulso Morelia, 10 years expanding the reach of Mexican cinema

Gabriela Martínez

In 2015, the Morelia International Film Festival (FICM) announced for the first time its call for participation in a project that sought to encourage reflection and the exchange of ideas about filmmaking in our country: Impulso Morelia.

Films such as Sueño mexicano by Laura Plancarte (Hot Docs, 2024); La montaña by Diego Enrique Osorno (Rotterdam, 2023); Red Shoes by Carlos Eichelmann Kaiser (Venice, 2022); Rodrigo Reyes' Sanson and Me (Tribeca, 2022), Carlos Lenin Treviño's The Dove and the Wolf (Locarno, 2019), Hari Sama's This is not Berlin (Sundance, 2019); Laura Herrero Garvin's La Mami (IDFA, 2019); The Chaotic Life of Nada Kadić by Marta Hernaiz (Berlinale, 2018); The Devil's Freedom by Everardo González (Berlinale, 2017); Strange but True by Michel Lipkes (Rotterdam, 2017), or Tempestad by Tatiana Huezo (Berlinale, 2016), were presented in previous editions of this initiative achieving an important international resonance.

Almost ten years after the rise of this initiative, Andrea Stavenhagen, head of Impulso Morelia, talks to us about the evolution of this project over the years.

FICM: How did the idea of making Impulso Morelia come about, and how did José María Riba get involved in the project?

Andrea Stavenhagen: José was always very enthusiastic about Mexican cinema, a generous promoter, and very connected in the international industry; always pushing Mexican and Latin American titles at festivals, screenings, and forums.

He had collaborated with the San Sebastian Festival in the Films in Progress section, now called WIP Latam - San Sebastian. This section enables the continuation of the film completion process during post-production. It aims to enhance visibility at festivals and attract interest from sales agents, distributors, and post-production houses, all of which could help in completing the film. This space was one of the first of its kind in the professional spaces of film festivals.

José had visited the Morelia Festival and, he knew about the Morelia Lab, the workshop for Latin American producers that Carlos Taibo and I coordinated for 10 years. We had the honor of having his participation as a jury member in the final presentations of the workshop's projects, and from then on we began to talk about the importance of these initiatives. One day he said: "Why doesn't Morelia open a special space for already filmed proposals? I understand more about images than about texts or paper projects. It would be great to be able to do something here in Morelia for Mexican films, knowing that the festival promotes Mexican talent, national filmmakers, and new directors."

José started talking with Daniela Michel and me, suggesting a small attempt to present films in a post-production stage to the universe of professionals and festival representatives that Morelia gathers year after year. José María Riba helped us during several editions, until his death, in the design of an open call for Mexican films, and in the selection of the projects that would make up the programs. It was a very enriching task always.... the vision, the selection, and the discussion of the proposals. Evaluating, at all times, both the quality and the relevance for the professional audience of Morelia.

FICM: Throughout these ten years, how has Impulso Morelia evolved? Has any initial idea evolved over time or has a different vision been incorporated into it?

AS: It has been defining itself, taking on a very particular identity. Morelia is not a market that regularly brings sales agents, distributors, or producers together. Doing a work-in-progress in this context implied a special challenge to find the identity of this section.

In the initial editions, a jury chose the projects that would receive post-production awards, which were offered from the start. Cinépolis Distribución also contributed a significant award to assist with distribution. After a few editions, due to the outstanding industry professionals that Morelia attracts, a panel of experts was assembled. This panel acted as a jury and engaged with project teams, providing feedback and insights on the presented cuts.

José was visionary in considering that Morelia could gather important figures of international cinema, whose opinions would be highly valued. Impulso Morelia was redefined by creating an international panel of experts who, in addition to selecting and awarding prizes, offered their opinions to the film crews. This has greatly enriched the section, giving it a special and unique character that has been refined in terms of structure and operation.

FICM: How have the themes of the selected projects evolved, how have they changed over the years?

AS: We aim to ensure a variety of proposals. It's crucial from the start when we choose the documentaries or fiction pieces that will take part. We have no specific preference, and the range is extensive.

We have noticed certain recurring themes over the years. Many proposals focus on social issues related to migration, human rights, and territorial conflicts. These are pressing concerns in our country's context, and they are also evident in the titles chosen for the festival's Offical Selection.

Impulso Morelia has received original documentary projects that propose not only a strong authorial vision but also innovative narrative forms. The Devil's Freedom (2027), for example, by Everardo González, an important proposal in the Mexican documentary scene, or Tempestad by Tatiana Huezo, are films that have been featured in editions of this section of FICM.

As I was saying, over the years Impulso Morelia has included in its program films with very diverse themes and forms. This diversity, together with the quality of the proposals, is what has consolidated the initiative and has attracted the interest of festival programmers and industry professionals interested in the projects that are about to be completed.

FICM: How do you think these ten years of Impulso Morelia have directly or indirectly impacted the national industry, both locally and internationally?

AS: The direct impact is mainly on the projects themselves. Our first objective is to open a space that helps films to be concluded in the best possible way, and to put eyes on them. While the exact significance of the global industry is unclear, it has made an impact on the national industry. These platforms are valuable for filmmakers and producers of feature films who encounter challenges in completing and showcasing their work. Sometimes, it's not just about the financial aspect of securing resources for completion, but also about the opportunity to gain visibility at prestigious festivals like Morelia. These festivals attract representatives from renowned events such as Berlin, Rotterdam, Cannes Critics' Week, Hot Docs, Sundance, Locarno, Lima, Venice, and others. The work-in-progress sections of film festivals are highly sought after and well-attended by these industry professionals.

I believe these nine years of Impulso Morelia have had a positive and direct impact on the more than 50 proposals that have been selected to participate. Both for the support that has been offered and for the dialogue generated around them.

FICM: And in the future, how do you think Impulso Morelia will evolve?

AS: Well, I wish it a long life. I think it is a project that has found its identity and its sense of existence, that has adjusted its mechanisms of operation and convening, but it can always be strengthened and improved... grow in terms of the professional audience it gathers, and the support that contributes to the completion and circulation of the films.

We must insist and continue with the inclusion of proposals from all over the country, representing emerging and consolidated filmmakers, from native peoples, and communities with less access to support mechanisms. That is another challenge for Impulso Morelia. As you know, it is part of Morelia Pro, the section of the festival that brings together professional and training initiatives. We will continue to work to link these activities in terms of invited professionals, participating projects, and joint activities.

The accompaniment of the proposals is another aspect that I would like to reinforce. I follow up on the presentation of awards and prizes, send information (Impulso Morelia catalogs) to sales agents or international festivals that could not attend the festival, and give some advice or contacts to the film teams. That is to say, not only during the days when the Impulso Morelia sessions take place, but also during the following months. That's the work I'd like to have more time for and help the films a little more.